It’s only a matter of days until the UK is scheduled to depart the European Union. As anyone who follows me knows, Brexit is an outcome I’ve been fighting, marching and campaigning against since David Cameron first announced the date for the 2016 referendum. So to be invited to chair Counting Sheep, in a new co-production with Belarus Free […]

The bookworm in me adores everything about libraries and they don’t get much more atmospheric, or historic, than The London Library, the world’s oldest independent lending library – and now a highly unconventional theatrical venue for Creation Theatre Company’s latest offering, Dracula.

The Park Theatre has been absolutely buzzing with two sell-out shows, including in Park 90, Tom Wright’s debut play My Dad’s Gap Year, which has nearly sold out the rest of its run too. What’s the secret alchemy between Wright and his director Rikki Beadle-Blair?

I’ve been following the insanely talented improv geniuses of The Showstoppers for most of their eleven years. How do they do it? I still can’t really fathom it, but I was pleased to gain a few more insights – and a new well of admiration – after chairing a post-show Q&A with them.

Charming, delectable, delicious. And those are just the custard creams… It’s not often I get offered biscuits at the post-show Q&As I chair, but at a show called The Ministry of Biscuits, it would have seemed remiss not to.

How does it feel to have a one-woman show written especially for you by one of your country’s leading writers? Pretty damn good, according to Songs for Nobodies’ Bernadette Robinson – though, to be clear, there was nothing passive about this privilege in her case.

In the second of my recent back-to-back post-show Q&As with King’s Head Theatre productions, I was at the Off West End powerhouse’s original home in Islington for Atticist’s first London revival of David Greig’s 2002 play Outlying Islands.